Illinois  Association  of  Teachers 
of  English — Bulletin 

Vol.  V,  No.  7 Urban  a,  Illinois  April..  1,  ,1913 

Published  every  month  except  June,  July,  August,  and  September.  Entered 
as  second  class  matter  May  22,  1909,  at  the  postoffice  at  Urbana,  Illinois,  under 
the  Act  of  July  16,  1894.  Communications  may  be  addressed  to  J.  M.  Clapp, 
Lake  Forest,  Chairman  of  the  Executive  Committee,  or  to  H.  G.  Paul,  Urbana. 


PROBLEMS  OF  THE  HIGH  SCHOOL  PLAY 

The  wide  popularity  of  the  school  play  is  pretty 
clearly  indicated  in  the  fact  that  seventy  per  cent  of 
our  college  freshmen  have  taken  part  in  amateur 
dramatics.  That  teachers  find  many  difficulties  in 
selecting  and  producing  these  plays  is  equally  clear 
from  the  dozens  of  letters  that  come  to  us  every  season. 
If  we  agree  that  dramatics  can  be  made  a really  use- 
ful feature  of  school  life,  some  practical  suggestions 
may  be  of  assistance  to  those  who  have  not  found  the 
problem  a simple  one. 

We  may  as  well  admit  that  the  school  productions 
are  generally  regarded  as  pure  recreation  for  all  con- 
cerned— except  the  hard-working  coach.  The  Senior 
Play  is  an  exhibition,  where  the  girls  may  display 
themselves  at  their  prettiest  and  the  boys  show  how 
gallant  or  funny  they  can  make  themselves.  Even  so, 
the  little  vanities  of  the  actors  may  be  over-ruled  for 
good  by  a wise  and  sympathetic  teacher.  Indeed,  the 
fact  that  the  pupil’s  ambitions  are  natural  and  spon- 
taneous means  a fine  opportunity  for  accomplishing 
ends  not  otherwise  easily  attained.  Clear  speech,  ease 
of  movement,  and  self-control,  are  graces  that  may  be 
taught  in  almost  any  play.  If  the  drama  has  even  a lit- 


\ 

I 


The 


2 


tie  claim  to  literary  value  tlie  lessons  may  go  much 
fleepor;  ami  they  are  noue-the  less  valuable  becaush 
they  are  learned— or  absorbed— freely  and  without 
drudgery. 

In  choosing  the  play,  then,  there  should  be  a 
double  purpose.  First  of  all,  it  must  entertain;  it 
must  give  unforced  pleasure  to  the  audience.  But 
this  is  never  inconsistent  with  the  other  aim,  to  give 
the  actors  something  worth  doing.  A School  Tradi- 
tion, for  instance,  may  decree  that  the  play  be  comic. 
It  would  be  perhaps  a cruel  disappointment  to  present 
a sombre  drama.  But  there  are  dozens  of  comedies 
which  will  entertain  worthily ; and  some  farces,  even, 
may  justify  themselves  in  production. 

If  this  principle  of  choice  seems  to  put  a prem- 
ium on  mediocrity,  I have  not  made  myself  clear.  It 
is  the  only  principle,  I believe,  which  makes  possible 
the  consistent  approach  to  an  ideal.  Apply  it  to 
some  schools,  and  you  would  demand  nothing  less  than 
annual  productions  of  Shakespeare.  But  apply  it 
elsewhere  and  you  would  have  to  admit  that  “The  Col- 
lege Widow”  might  be  a thoroughly  wise  choice,  while 
“Midsummer  Night’s  Dream”  would  surely  be  a fool- 
ish- one.  Who  profits  if  the  “Dream”  is  so  played 
(or  so  received)  that  every  scene  suggests  the  buffoon- 
eries of  Bottom’s  actors? 

With  the  best  intentions  in  the  world,  however,  the 
teacher  often  finds  the  choice  of  play  very  difficult. 
The  themes  of  nine  plays  in  ten  bar  them  for  school 
use.  Then,  too,  the  choice  is  conditioned  by  all  sorts  of 
hard  facts:  the  number  of  available  boys  and  girls; 
their  height,  voice,  and  ability;  the  size  of  the  stage; 
its  scenery  or  the  lack  of  it ; the  expense  of  costumes ; 
tastes  and  prejudices  of  the  community,  and  so  on. 
“We  want  a play”,  our  correspondents  write,  “which 
will  give  us  a chance  to  use  all  the  members  of  the 


3 


class — four  boys  and  twenty-nine  girls.”  Of  course, 
there  is  only  one  way  to  get  such  a play,  and  that  is  to 
write  it ; unless  one  selects  a piece  with  four  male  char- 
acters and  contrives  to  decorate  the  stage  in  certain 
scenes  with  the  otherwise  superfluous  girls.  The 
former  method  is  really  possible  for  many  a clever 
teacher,  but  such  an  one  needs  no  advice  from  us. 
The  historical  pageant,  and  the  adaptation  of  stories 
or  narrative  poems,  may  furnish  a way  out ; and  some- 
times a program  of  one-act  plays  solves  the  problem. 
In  general,  however,  the  safest  way  is  to  choose  some- 
thing which  will  adequately  bring  out  the  ablest 
pupils,  and  then  to  exercise  all  possible  ingenuity  in 
introducing  the  others  in  the  program. 

The  old  stand-bys  are  much  more  useful  than  is 
generally  realized.  Shakespeare,  Goldsmith,  and 
Sheridan  cannot  be  carelessly  counted  out.  “She 
Stoops  to  Conquer”  and  “The  Rivals”,  if  at  all  well 
done,  still  overpeer  the  petty  traffickers  even  in  the 
thing  which  the  young  actors  most  crave, — the  power 
to  excite  the  right  kind  of  laughter  and  applause. 
Clever  pupils,  ably  directed,  may  thoroughly  delight 
their  friendly  audiences  in  Shakespeare’s  “A  Mid- 
summer Night’s  Dream”,  “The  Merchant  of  Venice”, 
“As  You  Like  It”,  or  “Twelfth  Night” ; or  even  in  “The 
Taming  of  the  Shrew”,  “The  Tempest”,  or  “Julius 
Caesar”.  Good  short  plays  may  readily  be  adapted 
from  scenes  in  others  of  the  Shakespeare  classics : for 
example,  “The  Night  Before  the  Battle”,  Henry  V., 
Act  IV,  Scene  I;  or  “ The  Entrapping  of  Beatrice”, 
Much  Ado  About  Nothing,  Act  III,  Scene  I.  The 
standard  plays,  let  me  repeat,  need  marked  ability  in 
the  coaching  as  well  as  in  the  acting;  under  the  right 
conditions,  however,  they  may  be  made  as  truly  popu- 
lar in  their  appeal  as  one  could  wish. 


4 


In  searching  further,  the  catalogs  of  the  play- 
publishers  are  helpful,  tho  one  is  likely  to  be  confused 
by  the  multitude  of  pieces  offered.  Some  of  these 
lists,  however,  are  arranged  according  to  the  number 
and  sex  of  characters.  The  setting  required  and  the 
time  taken  in  representation  are  also  shown,  with 
something  of  the  plot  and  nature  of  the  play.  Most  of 
these  offerings  cost  but  fifteen  cents  each,  so  that  one 
may  select  a dozen  for  examination  at  small  expense. 
Unfortunately,  the  lists  contain  so  much  worthless 
stuff  that  this  sort  of  blind  choice  is  likely  to  waste 
time.  The  catalogs  of  the  following  firms,  which  will 
be  mailed  free  on  request,  contain  most  of  the  avail- 
able published  plays  commonly  given  by  amateurs: 
Walter  H.  Baker  & Co.,  5 Hamilton  Place,  Boston ; 
The  Dramatic  Publishing  Co.,  Pontiac  Bldg.,  Chicago; 
Samuel  French,  28  W.  38th  St.,  New  York;  Penn 
Publishing  Co.,  923  Arch  St.,  Philadelphia;  The  Eld- 
ridge  Entertainment  House,  Franklin,  Ohio. 

A helpful  list  called  “A  Selected  List  of  Plays  for 
Amateurs”  was  privately  published  a few  years  ago, 
and  information  regarding  it  may  be  secured  by  writ- 
ing Miss  E.  A.  McFadden,  Cambridge,  Mass.  In 
Cambridge  also,  (41  Concord  Ave.)  is  the  “Agency  for 
Unpublished  Plays”  which  will  furnish  a valuable 
list  of  pieces  which  may  be  had  in  manuscript  for  the 
payment  of  a small  royalty.  The  Stage  Guild  of  Chi- 
cago prints  interesting  plays  and  pageants  by  T.  W. 
Stevens  and  others.  Many  of  the  recent  professional 
successes  may  be  produced  for  a royalty  of  from  $>25.00 
to  $50.00 ; for  lists  of  these  apply  to  one  of  the  follow- 
ing agents:  Alice  Kauser,  1432  Broadway,  New 
York;  the  DeMille  Agency,  Astor  Theatre,  New  York; 
Selwyn  & Co.,  1402  Broadway,  New  York.  This  is  the 
only  method  of  securing  such  a play  as,  for  example, 
Barrie’s  “The  Little  Minister”,  for  which  a royalty 


5 


of  $50.00  is  payable.  Payment  of  the  royalty  due  on  a 
play  is  of  course  a serious  moral  as  well  as  legal  obli- 
gation, a fact  which  amateurs  occasionally  disregard. 
But  most  of  the  pieces  advertised  by  firms  mentioned 
in  the  preceding  paragraph,  may  be  produced  without 
such  payment. 

By  way  of  further  specific  titles,  I may  mention 
some  plays  which  have  in  one  way  or  another  proved 
successful  at  the  University  of  Illinois  and  the  local 
schools  r1 


The  Cricket  on  the  Hearth 

For  One  Night  Only 

Liberty  Hall 

Nance  Oldfield 

David  Garrick 

Nephew  or  Uncle 

The  College  Politician 

The  Palace  of  Truth 

The  Honeymoon 

Our  Boys 

’Op-o’-me-Thumb 


The  Hour  Glass 
A Pot  of  Broth 
The  Workhouse  Ward 
The  County  Chairman 
Miss  Civilization 
Marvelous  Bentham 
Owin’  To  Maggie 
The  College  Widow 
Maids  and  Matrons 
Giles  Corey 
Pygmalion  and  Galatea 


Among  others  that  seem  to  have  proved  pretty 
serviceable  in  one  way  and  another,  are  these : 


The  Rose  of  Plymouth  Town 

The  Private  Secretary 

An  American  Citizen 

London  Assurance 

Mice  and  Men 

Lend  Me  Five  Shillings 

Caste 

The  Prince  Chap 

The  Bishop’s  Candlesticks 

Mr.  Bob 

Cranford 

Nathan  Hale 

The  Romancers 


The  Professor’s  Love  Story 
The  Admirable  Crichton 
A Royal  Family 
Old  Heidelberg 
The  Man  From  Home 
Trelawney  of  the  Wells 
The  Knight  of  the  Burning 
Pestle 

The  Shoemaker’s  Holiday 
A Message  from  Mars 
Tom  Pinch 

Historical  Pageant  of  Illinois 
The  New  Age 


But  at  best  such  lists  only  emphasize  the  scarcity 
of  good  dramas  for  school  production.  A few  of  the 
above  deserve  consideration  on  literary  grounds,  while 
others  are  highly  artificial  and  theatrical.  But  at  least 


iMost  of  these  are  listed  in  the  catalogs  mentioned  above. 


c 


their  themes  are  free  from  grossness  and  excessive 
sentimentality,  they  are  reasonably  “actable”,  and 
each  suggests  some  common  type  of  audience  which  is 
sure  to  find  it  enjoyable. 

The  discriminating  teacher,  furthermore,  will  try 
to  keep  in  touch  with  the  best  of  contemporary  drama, 
acted  and  published.  The  bulletins  of  the  Drama 
League  of  America  may  be  readily  secured,  and  the 
new  plays  and  criticisms  are  annually  listed  in  the 
Dramatic  Index  edited  by  Mr.  Faxon  and  published  by 
the  Boston  Book  Company. 

In  assigning  parts,  the  all-important  considera- 
tion is  dramatic  instinct.  The  valedictorian  may  not 
have  a spark  of  it ; the  class  cut-up  may  have  so  little 
of  it  that  he  would  prove  anything  but  comic  on  the 
platform;  and  the  shy  fellow  who  has  always  seemed 
rather  dull  may  surprise  you  by  carrying  off  the  lead- 
ing honors — if  you  discover  him  in  time ! For  nothing 
is  more  common  than  to  find  some  minor  part  forging 
into  prominence  as  rehearsals  advance,  through  the 
development  of  unsuspected  dramatic  talent.  Some- 
times, too,  a pupil’s  nature  here  first  finds  a way  to 
express  itself.  On  one  occasion,  for  instance,  when  I 
was  ready  to  assign  the  parts  in  a school  play  I saw 
that  my  choice  of  the  “heroine”  seemed  both  to  puzzle 
and  amuse  the  girl’s  teachers.  Not  until  the  per- 
formance was  over,  however,  and  the  girl  had  carried 
the  play  to  success,  did  I learn  that  she  had  hitherto 
been  considered  an  “impossible”  sort  of  pupil.  And 
as  she  was  the  making  of  the  play,  the  play  was  really, 
in  a way,  the  making  of  her. 

First,  then,  try  to  find  out  who  among  your  candi- 
dates can  break  through  their  own  shells  and  throw 
themselves  into  some  other  character;  not  in  dialogue 
alone,  but  in  gait,  pose,  laugh,  facial  expression.  In- 
deed, a bit  of  pantomime  may  reveal  more  of  one’s  real 


7 


histrionic  nature  than  a declamation.  An  imitation 
of  some  well-known  “character”,  or  the  reciting  of  a 
piece  involving  impersonation,  may  serve  the  purpose. 
The  mere  reading  aloud  of  parts  of  the  chosen  play  is 
unsatisfactory.  But  if  a group  can  be  made  to  laugh 
and  strut  and  shout  over  the  first  reading  of  the  play 
(when  the  parts  are  assigned  almost  at  random) 
you  may  find  the  very  freedom  and  effervescence  of  the 
moment  revealing  just  the  qualities  you  are  seeking. 
Whatever  the  method,  encourage  informality;  the 
candidate  before  being  judged  should  be  “worked  up” 
to  a point  where  he  is  as  free  as  possible  from  self- 
consciousness. 

When  you  are  sure  you  have  tested  the  essential 
dramatic  instinct  of  the  pupils,  ordinary  principles 
of  choice  may  determine  the  final  allotment.  If  you 
have  to  choose  between  a gallant,  temperamental  Or- 
lando whose  enunciation  is  bad,  and  a wooden  youth 
of  perfectly  proper  speech,  remember  that  it  is  much 
easier  to  correct  faulty  speech  than  to  supply  the 
dramatic  spirit.  Apart  from  this  special  considera- 
tion, however,  it  is  the  same  energetic,  responsive, 
thinking  boy  or  girl  that  you  have  always  relied  on, 
who  will  best  repay  your  confidence  now.  Test  the 
voice  carefully,  however,  for  two  elements.  It  must 
have  carrying  power.  And  its  quality  should  enable 
the  speaker  to  suggest,  or  at  least  to  avoid  belying, 
the  character  assumed.  This  would  seem  unnecessary 
advice,  but  most  of  us  have  at  some  time  been  jarred 
by  the  healthy  resonance  in  the  tones  of  a tottering 
Aclam , or  by  the  soft  and  kittenish  purr  of  a Portia 
as  she  triumphs  over  the  Jew.  This  sort  of  incon- 
gruity often  comes  about  because  personal  appearance 
has  been  too  strong  a factor  in  the  choice.  Remember 
that  face  and  figure  are  capable  of  amazing  stage- 
alterations,  while  few  amateurs  can  effectively  alter 


8 


the  voice.  Test  this  for  a moment  with  some  candi- 
date, by  shutting  your  eyes  and  letting  the  sound  of 
the  voice  suggest  the  character  possibilities. 

For  the  actual  coaching  of  the  piece,  there  are 
certain  qualifications,  such  as  tact  and  driving  power, 
which  should  be  called  into  play  before  one’s  dra- 
matic instinct  ( sine  qua  non ) may  be  given  free  rein 
with  any  assurance  of  success.  Such  things,  of  course, 
belong  outside  this  discussion.  But  one  other  essen- 
tial I may  specially  emphasize — system. 

In  the  first  place,  system  should  be  applied  to 
the  schedule  of  rehearsals.  The  exasperating  “cut- 
ting” of  rehearsals  is  sometimes  due  to  neglect  of  this 
factor.  Each  pupil  may  be  pledged  in  advance  to 
keep  certain  rehearsal-dates  free  from  engagements. 
A full-length  play  needs  (in  addition  to  individual 
coaching)  from  fifteen  to  twenty-five  two-hour  re- 
hearsals, extending  over  a period  of  from  one  to  two 
months.  For  the  play  of  average  difficulty,  the 
shorter  period  is  better,  as  the  degree  of  concentration 
and  interest  is  likely  to  be  greater. 

The  coach  must  know,  before  the  first  rehearsal 
if  not  before  assigning  the  parts,  just  how  every  detail 
of  the  play  ought  to  go.  In  very  few  printed  plays  are 
the  details  of  stage-management  indicated.  One  should 
therefore  make  a “prompt-book”,  as  the  professional 
producer  does.  This  may  be  done  by  interleaving  the 
copy,  or  by  pasting  the  sheets  from  two  copies  in  a 
scrap-book  so  as  to  leave  a blank  page  opposite  each 
page  of  the  text.  In  this,  one  notes  down  the  “prop- 
erties” and  exact  setting  for  each  scene;  also  all  im- 
portant actions  and  changes  of  position  of  every  char- 
acter, opposite  the  proper  lines,  so  as  to  show  the  pre- 
cise grouping  and  relation  of  persons  at  any  particu- 
lar moment.  This  system  is  invaluable  because  each 
pupil  comes  to  know  with  perfect  definiteness  the 


9 


“business”  for  which  he  is  responsible  in  each  scene; 
each  thing  is  done  the  same  way  each  time — a very 
necessary  procedure,  by  the  way,  if  the  coach  is  to 
establish  his  authority  securely.  It  is  true  that  re- 
hearsals bring  out  awltard  points  and  the  actors  may 
even  suggest  improvements  on  one’s  preliminary 
plans ; but  the  system,  tlio  flexible,  should  be  from  the 
start  as  fully  developed  as  may  be. 

The  director  will  further  find  it  advisable  to 
write  large  in  the  margins  all  such  directions  as  “Bell 
rings”,  “Ready  for  curtain”,  “Horns  in  distance”, 
“Lights  dimmed”,  and  the  like.  Then  the  prompter 
(if,1  as  often  happens,  he  is  “stage-manager”  as  well) 
is  given  timely  warning  to  attend  to  the  accessories 
as  directed. 

Mr.  Ben  Greet  is  issuing,  through  Doubleday, 
Page  and  Company,  an  edition  of  Shakespeare,  one 
play  to  a volume,  in  which  these  managerial  directions 
are  supplied,  opposite  the  text,  with  admirable  fulness 
and  illuminating  comment.  Nothing  more  helpful 
has  ever  been  done  for  amateurs.  To  illustrate:  in 
“Julius  Caesar”,  near  the  opening  of  the  third  act,  is 
Cassius’s  line,  “Casca,  be  sudden,  for  we  fear  pre- 
vention.” Opposite  this  is  the  following  note:  “All 
these  speeches  are  spoken  with  haste  and  intensity  in 
an  undertone.  Caesar  is  fully  occupied  talking  with 
Decius,  Lepidus,  Popilius,  and  Publius.  Antony 
keeps  R,  so  that  Trebonius  can  easily  persuade  him  to 
go  off  R in  consultation,  about  some  official  matter.” 
And  beneath  this  is  a diagram  showing  the  precise 
grouping  of  the  actors.  The  directions  for  staging 
the  assassination  are  as  follows:  “This  great  last 
moment  of  Caesar’s  must  be  slow,  deliberate;  he  is 
literally  dragged  off  the  seat,  staggers  down  C — a 
pause — he  looks  around  and  sees  Brutus  about  to  stab 
him;  he  opens  his  robe;  Brutus  practically  embraces 


10 


him  with  his  sword;  Caesar  covers  his  face  with  robe 
and  falls.  There  is  a dead  pause  while  you  count  ten.” 

The  director  may  not  choose  to  accept  the  “busi- 
ness” of  another,  but  in  bis  own  way  he  must  work  out 
the  details  with  equal  fulness. 

Of  course  the  greatest  problem  of  all  is  how  to 
teach  the  pupils  to  act.  If  the  coach  can  assume  the 
various  characters  in  turn,  responsive  pupils  will 
accomplish  a great  deal  by  imitation  alone.  In  any 
case,  much  personal  and  inspirational  work  is  de- 
manded. There  are  good  schools  for  training  actors, 
but  I have  never  found  a satisfactory  hand-book  on 
the  art.  Dramatic  instinct  and  the  observation  of 
good  acting  are  a reasonable  equipment  for  the  coach. 
Mr.  Greet’s  Shakespeare  is  full  of  wise  and  suggestive 
points.  The  phonograph,  which  now  gives  us  records 
of  many  good  speakers  and  actors,  is  an  excellent  sup- 
plement. And  for  action,  pantomime,  and  gesture,  the 
moving  pictures  now  bring  to  one’s  door  the  ablest  in 
these  arts.  In  fact,  for  one  situated  where  good  dra- 
matic performances  are  not  to  be  seen,  an  excellent 
text-book  on  acting  could  be  made  by  printing  the 
axioms  of  the  art,  and  then  listing  and  analyzing  the 
merits  of  the  best  phonograph  records  and  cinemato- 
graph films.  Add  to  these  resources  the  rich  photo- 
graphic records  of  professional  productions,1  and  the 
mechanical  aids  to  the  study  of  acting  assume  consid- 
erable importance. 

It  may  be  said  that  in  the  rehearsals,  the  study 
of  character  should  come  first,  because  all  else  depends 
upon  it.  Make  your  pupil  see  and  feel  the  person  to 
be  portrayed,  even  before  lie  learns  the  lines;  he  is 
then  much  more  likely  to  work  out  interpretive  de- 
tails for  himself.  The  development  of  individuality 


ij.  Byron,  the  New  York  photographer,  for  example,  issues  a 
catalog  listing  scenes  from  hundreds  of  important  productions. 


11 


in  the  student  is  in  this  respect  highly  important  for 
his  own  good;  but  usually  it  takes  firm  dictation  on 
the  part  of  the  coach  to  insure  consistency  and  team- 
work. 

If  the  rehearsals  are  conducted  with  the  right  de- 
gree of  vigor  and  system,  the  old  bug-bear  of  “learning 
lines”  will  quickly  pass.  The  memory  is  so  much  as- 
sisted by  association  that  if  the  reading  of  the  text 
is  carried  on  at  the  first  rehearsals  with  strenuous 
practice  of  the  accompanying  action,  the  lines  almost 
“learn  themselves”.  Then  if  the  laggards  are  prompt- 
ly and  properly  dealt  with  (the  possibility  of  being 
dropped  from  the  play  is  a powerful  stimulus)  pro- 
gress results. 

The  interpretation  of  lines  should  be  cleared  up 
promptly,  so  that  they  are  read  in  the  same  way 
throughout.  One  or  two  rehearsals  may  well  be  given 
to  this  work  alone;  and  even  then  it  is  well  to  have  the 
lines  read  with  all  the  fulness  and  force  of  a final  per- 
formance. An  old  hand-book  says:  “The  two  princi- 
pal rules  for  an  actor  are : 1st,  Be  perfect  in  your  part, 
and,  2nd,  Speak  out.”  Speak  out!  The  untrained 
pupil  simply  has  no  conception  of  what  this  means. 
And  so,  from  the  first,  spare  no  time  or  energy  in 
coaxing  or  coercing  the  actors  to  make  themselves 
heard.  Until  they  seem  to  themselves  to  be  shouting, 
they  are  not  likely  to  be  speaking  loud  enough.  Deli- 
cacy of  inflection  and  purity  of  enunciation — all  the 
beautiful  graces  of  speech — come  to  nothing  without 
that  super-normal  carrying  power,  the  sheer  vocal 
energy  needed  to  make  an  audience  in  the  average 
hall  hear  without  strain. 

If  there  are  any  general  directions  that  amateurs 
need  oftener  than  others,  they  are  the  following : 
1.  Learn  to  stand  still.  When  no  action  is  called  for, 
keep  the  hands  and  feet  completely  in  repose.  2.  Keep 


12 


the  head  erect,  and  do  not  lower  the  eyes.  3.  Speak 
toward  the  audience,  hut  do  not  appear  to  see  them. 
4.  Make  every  line  sound  important.  5.  When  one 
“makes  a point”  or  delivers  a climactic  speech,  give  the 
audience  an  extra  moment  to  appreciate  it  before  pro- 
ceeding. 6.  When  there  is  much  laughter  or  applause 
for  a speech,  or  an  action,  bide  your  time  before  pro- 
ceeding. 7.  With  the  exceptions  just  noted,  speak  the 
first  word  of  your  line  so  promptly  on  the  “cue”  that 
no  other  word  could  possibly  be  edged  in.  8.  Study 
the  remarkable  power  of  suggestion  in  the  simpler 
facial  movements:  the  mere  turning  of  the  eyes,  the 
smile,  the  sneer,  the  lifting  of  the  brows,  the  froAvn, 
the  dropping  of  the  jaw;  and  depend  upon  them  rather 
than  upon  the  gesture  for  all  but  the  more  emotional 
effects.  9.  Walk  firmly;  do  not  lounge  or  sidle. 
10.  Make  all  actions  and  gestures  confident  and  vigor- 
ous. 

Finally,  in  answer  to  constant  inquiries,  a word 
as  to  the  means  of  securing  the  accessories  for  a pro- 
duction. Through  the  Theatrical  Merchants’  Associ- 
ation of  Chicago  one  may  find  anything  desired.  I 
might  mention  also  the  firm  of  Funk  and  Company  of 
Chicago,  makers  of  wigs  and  make-up.  The  matter 
of  make-up,  by  the  way,  is  often  a difficult  one.  A 
hand-book,  like  Fitz-Gerald’s  (published  by  Samuel 
French)  is  helpful,  but  much  practice  is  needed.  If 
the  treasury  will  permit,  a performance  will  gain  im- 
mensely by  having  a professional  for  this  work.  For 
although  the  amateur  has  so  much  difficulty  in  assum- 
ing a role,  he  may  at  least  be  made  almost  perfectly 
to  “look  the  part”. 

T.  H.  Guild, 

University  of  Illinois. 


39 

THE  NOVEMBER  MEETING 


Arrangements  for  the  seventh  annual  meeting  of  the 
Illinois  Association  of  Teachers  are  practically  complete. 
Those  in  charge  of  arranging  the  program  have  aimed  to 
emphasize  various  phases  of  one  very  practical  subject; 
they  have  also  tried  to  avoid  the  error  common  in  teachers’ 
meetings  of  crowding  a program  with  so  many  numbers  that 
no  one  paper  or  talk  received  thorough  discussion.  Many  of 
the  older  members  of  our  Association  are  thoroughly  con- 
vinced that  it  is  better  to  take  up  one  subject  and  thrash 
it  out  thoroughly  than  to  scatter  our  efforts  over  a large 
field. 

The  meetings  of  the  Association  will  be  held  as  usual 
in  the  Moot  Court  Room  of  the  Law  Building  of  the  Uni- 
versity of  Illinois,  on  Friday,  November  the  twenty-first. 

Morning  Session,  9 to  12 

Progress  in  English  Teaching  during  the  Past  Year.  W.  W.  Hat- 
tnld,  Parker  High  School,  Chicago. 

Repor  of  the  Committee  on  the  Experiment  in  Oral  and  Written 
Composition.  Professor  J.  M.  Clapp,  Lake  Forest  College. 
Discussion,  led  by  Professor  E.  C.  Baldwin. 

Afternoon  Session,  1 130  to  4 

How  Can  We  Improve  Our  Work  in  Oral  Composition  in  the  High 
School?  Mr.  C.  H.  Woolbert,  University  of  Illinois. 

An  Experiment  in  Making  Every  Teacher  a Teacher  of  English. 
Miss  Laura  May  Sedgwick,  J.  Sterling  Morton  High  School, 

Clyde. 

General  discussion  h i by  Principal  F.  D.  Thomson,  Springfield. 


